In 2024, Richard Gadd took the world by storm. “Baby Reindeer” was unlike anything anyone had ever seen. Raw, sexual, perverted, and doused in the flames of male vulnerability and sexual trauma, the idea of it being semi-autobiographical, a commentary on fandom culture, stalking, the bias toward harassment and stalking cases reported by men versus women, as well as the excellent performance from Jessica Gunning and the immersive screenlife style used throughout, created a cultural phenomenon. It not only dominated most-watched lists (currently still one of Netflix’s Top 10 Most Popular English-Language TV Shows of All Time), but it also became an awards darling, sweeping major prestigious award bodies. The limited series swept the Emmys, taking home Outstanding Supporting Actress, Outstanding Limited Series, Outstanding Writing, and Outstanding Lead Actor for Gadd.
But it’s not just the raw talent and genius behind “Baby Reindeer” that made it an awards darling. It’s that massive global success. It’s that viral-friendly content that made it spread across dozens of social media platforms. It’s the embedding of the term “Baby Reindeer” into popular culture. Not every well-written, successful television series reaches that level of cultural impact, and even if it does, that doesn’t always translate into a supporting actress sweeping every major awards body: the Emmys, Golden Globes, Critics’ Choice Awards, SAG Awards, and BAFTAs.
Now Gadd is back with another dark tale of trauma, masculinity, male loneliness, the manosphere, and male rage. “Half Man” is also a tale of voyeurism, fetishizing the male “other,” and the desire to eliminate the feminine from the bond between men, that unshakeable, unbreakable connection that sometimes suffocates rather than uplifts. It’s much darker and bleaker than “Baby Reindeer,” with no hope or resolution in sight. It’s every bit as powerful and gritty, with Gadd arguably outdoing himself as a performer. But it’s not the same awards-wise now, is it?
For starters, with “Baby Reindeer,” Gadd benefited from the appeal of the underdog story: the industry newcomer, the fresh-faced, bold storyteller and actor, and the way that narrative appealed to voters’ attraction to something new. Now Gadd has established himself. So, will his luck continue, or will he be overshadowed in favor of other, more polarizing or attention-grabbing series in contention this year? This year’s competition is cutthroat, with the Limited Series category featuring critic darlings like “Widow’s Bay” and “DTF St. Louis,” popular series centered around celebrity subjects like “Love Story: John F. Kennedy Jr. and Carolyn Bessette,” and returning favorites like “Beef.”
The comparison is inevitable. “Baby Reindeer” was not only an awards-sweeping show but a genuine cultural phenomenon. The idea of “Half Man” becoming the next thought-provoking, culturally groundbreaking television series feels far-fetched. It’s already generating attention, but it is more niche and less likely to spread worldwide in the same way. Of course, part of that comes down to the nature of the platforms themselves. Netflix provides transparent global metrics, while HBO leans more toward the prestige television model, with opaque and primarily U.S.-based viewership data. On the other hand, HBO has spent decades defining prestige television and accumulating awards recognition. “Succession,” “The Last of Us,” “The Sopranos,” and “Game of Thrones” are just a few examples of how carrying the HBO brand often comes with voter respect and industry credibility.
Keeping that in mind, Gadd is no longer the underdog story that audiences and awards voters were eager to champion. His challenge now is maintaining his industry credibility and proving that the qualities that elevated him to prestigious television status were not a one-time occurrence. One could also argue that the relentlessly grim tone of “Half Man” makes it a harder sell for voters, earning admiration and respect more than genuine passion. But does that affect the awards potential of “Half Man”?
With his ensemble, Gadd is certainly aiming high. He is submitting all four of his leads—including himself—for Emmy consideration. Jamie Bell and Mitchell Robertson are being submitted in Lead Actor categories, while Gadd and Stuart Campbell are competing in Supporting Actor. Multiple categories could see the tension-filled miniseries collecting trophies like Infinity Stones, particularly Outstanding Limited Series and Outstanding Writing. Yet based on the rave reviews Bell’s performance has received, Gadd may ultimately anchor the campaign around him. Supporting performances have historically been a major strength for Gadd’s work, as Jessica Gunning demonstrated with “Baby Reindeer.” Still, the Lead Actor race appears to be where “Half Man” may have its strongest individual contender, especially given Bell’s prominence within the show’s narrative.
There’s also the risk that Gadd is revisiting familiar territory. Themes of masculinity, trauma, and male loneliness are once again central to the story, which could clash with voters’ tendency to seek out fresh voices and perspectives. This year, however, the field is dominated by returning veterans. Unlike during his breakthrough with “Baby Reindeer,” Gadd is now competing alongside established prestige television creators returning with strong material, including Ryan Murphy and Lee Sung Jin. As a result, “Half Man” may end up being the kind of show that is deeply respected rather than passionately embraced. That possibility only increases because the series ventures into territory even darker than “Baby Reindeer” ever attempted. Its characters are less interested in earning audience sympathy or forging emotional connections, resulting in a more unsettling but arguably more realistic portrayal of humanity.
But that approach also carries risks. Gadd has always shown a preference for unresolved pain and unhappy endings, reflecting the messiness of real life. However, while Donny Dunn in “Baby Reindeer” eventually found some measure of peace with his trauma and career, even if Martha would forever haunt him and continue to provoke his voyeuristic impulses, the same cannot be said for Niall and Ruben. The brothers have not been so fortunate. They never find that peace or resolution. Safe to say, not even the audience’s imagination is likely to grant it to them.
So what does all of this say about Gadd? What does this awards season represent for him? More than anything, it is about establishing permanence. The question is no longer whether Richard Gadd can break through. The question is whether he can become one of prestige television’s recurring creative forces, an auteur of the modern television landscape. Even if “Half Man” fails to achieve the same level of cultural impact as “Baby Reindeer” or sweep awards across the industry’s major voting bodies, it still proves something important: Richard Gadd is here to stay, and “Baby Reindeer” was not a one-hit wonder.
What did you think of “Half Man“? Do you think it stands a chance at garnering Emmy recognition? Please let us know in the comments section below or over on our X account and check out our latest Emmy nomination predictions here.
